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Comic-Con 2012: Burning TV Questions for SDCC

By:
Shaunna Murphy
Jul 09, 2012

From what we hear, San Diego's Comic-Con used to be all about comic books and movies —what a strange, novel idea! While comic classics and big-screen adventures are still a major part of the convention, SDCC can now be viewed as a litmus test for television's growing popularity. In recent years, the infamous Hall H has been flooded with frantic fans flocking to see their favorite hits from the small screen, and 2012's convention will feature more shows than ever before. Hollywood.com will be on the floor for many of your favorite shows, bringing exclusive scoop and interviews from their hottest stars. But before we grab our badge and brave the crowds, let's run down what we already know from your favorite hits, and, more importantly, what we're dying to find out. MINOR SPOILERS AHEAD!
Dexter: At the end of season 6, fans were treated to the moment they'd been waiting for since the days of the Ice Truck Killer: Deb (Jennifer Carpenter) walked in on a kill. This. Changes. Everything.
What We Need To Know: To put it mildly, season 6 of Dexter was a disappointment. In fact, things haven't been quite the same since the phenomenal John Lithgow took his final bow. Having Deb in on the game (or battling Dexter) would certainly shake things up, but fans really need to know how they plan to keep things fresh for season 7. Showtime has been pretty mum about this season's new big bad, but we do know that newcomer Ray Stevenson will play a high-ranking member of an Easter European crime ring, with Katia Winter recurring as a Russian stripper. This high-power organized crime factor is new territory for Dexter, so we're keeping our fingers crossed for a quality trailer.
Community: Creator Dan Harmon was fired after a tumultuous season 3, and a series of leaked voicemails that exposed extreme personal and creative differences with Chevy Chase. David Guarascio and Moses Port (Happy Endings) will take the reins for season 4, while Chase has confirmed that he will definitely return for another year at Greendale. When we last left the study group, Jeff (Joel McHale) was searching for his father, while Troy (Donald Glover) became the "messiah" of Greendale's Air Conditioning Repair Annex.
What We Need To Know: How the new showrunners plan to handle the transition, and their plans for the tone of the show. Community is one of television's most unique treasures, and its devoted fans are fiercely loyal to Harmon. Guarascio, Port and the cast have been relatively quiet since Harmon's firing, so Comic Con will be their big debut. Expect plenty of scoop on the Community front, Human Beings.
The Walking Dead: They're everywhere! At the end of season 2, Andrea (Laurie Holden) was rescued by a hooded woman when she became separated from the rest of the besieged gang, who were forced to flee Herschel's (Scott Wilson) farm. It was soon revealed that this woman is none other than Michonne, a popular sword-wielding heroine from the comics. Meanwhile, the Grimes Gang were left reeling over the news that the virus that makes "walkers" is alive in all of them, so even a natural death would result in zombie rebirth. What We Need To Know: Michonne's casting has already been revealed — Treme's Danai Gurira will join the cast when the show resumes next fall, along with David Morrissey as a formidable villain known as The Governor. (Check em' out in the brand new poster!) But more importantly, we want to know how season 3 will look with new showrunner Glen Mazzara officially at the helm. Will he quicken the dull pace of season 2? The final 3 episodes of last season were a vast improvement over fall's poorly received Sophia snooze-fest, so we have high hopes for Dead's panel at this year's Con. Game of Thrones: Stannis (Stephen Dillane) is (maybe?) defeated! Tyrion (Peter Dinklage) lost his power over the realm! Jon Snow (Kit Harington) is a wildling! Theon (Alfie Allen) and Davos (Liam Cunningham) might be dead! So much happened in last month's finale that there aren't enough exclamation points in this world to encapsulate. We doubt the GoT crew will give away too much about season 3 since it's (unfortunately) eons away, but George R. R. Martin knows how to give a good panel. (Though it's pretty hard to adequately tease plot lines when everything already exists in a book.) What We Need To Know: They've already announced a bevy of characters that will join the cast for season 3 (which will be based on the third book in George R. R. Martin's A Song of Ice and Fire series, A Storm of Swords). We'll on the lookout for any casting announcements, or new exotic filming locations to expand upon the already vast world of Westeros. Also, since A Storm of Swords will be split into 2 seasons, we're curious to know where this one cuts off. Breaking Bad: The fifth season of AMC's groundbreaking drama premieres on the final night of 'Con (Sunday the 15th), so fans won't have to wait too long to see where Walt (Bryan Cranston) and Jesse (Aaron Paul) ended up after last season's dramatic face off. (Get it?) What We Need To Know: Is Walt really capable of killing a child? After seeing that Lily of the Valley plant in his backyard, it would certainly seem so. Was Saul in on the scheme? Also, getting rid of Gus leaves plenty of room for a new big bad — but will this season's opposition be a brand new face, or has Walt himself become the show's main antagonist? We expect Cranston and co. to touch on all of these issues and more, so be sure to check back for updates! Once Upon A Time: The first season's finale brought good news and bad news. In the "good" column, residents of the cursed Storybrooke, Maine regained their memories when Emma (Jennifer Morrison) finally broke the evil spell. However, fans were left with a cliffhanger when Mr. Gold/Rumpelstiltskin (Robert Carlyle) and Belle (Emilie de Ravin) seemingly went ahead and cast another one. It looks like magic has finally made its way to "our" world, but what this means for our favorite characters is yet to be seen. What We Need To Know: Well, besides more details about the latest curse, we'd like to see what the newly cast Mulan and Sleeping Beauty will be up to. Jamie Chung (who will now and forever be known as the girl from The Real World: San Diego) and The Tudors' Sarah Bolger have officially joined the roster, but the Once-lers have kept mum about their role in Storybrooke. We're hoping for some overall badassery from Chung (and not only to make up for Sucker Punch). The Vampire Diaries: In the final moments of May's third season finale, TVD fans were shocked when Elena (Nina Dobrev) died, only to re-emgerge minutes later as a bona fide creature of the night. Also, Klaus is somehow occupying Tyler's (Michael Trevino) body. What We Need To Know: We're not sure if anything can beat Caroline's (Candice Accola) hilarious-slash-heartbreaking season 2 transformation, but we're curious to see producer Julie Plec and co. try. Also — if Klaus is occupying Tyler's body, what does that mean for his soul? And how the heck does Trevino plan to pull off the conniving Brit Joseph Morgan? True Blood: Since we're right smack in the middle of the season, the True Blood gang might not have too much to give away. But after an intense make-out session between Sookie (Anna Paquin) and Alcide (Joe Manganiello), fans will be chomping at the bit for any details on Sookie's love... quadrangle? What We Need To Know: How they plan to proceed without showrunner Alan Ball leading the way. The show just got picked up for another season, which will be its first with co-executive producer Mark Hudis at the helm. Does he have any plans for a change of direction? Fringe: Fringe's final season will debut this fall (tear), and after a madcap season 4 that included a special flash-forward to a dystopian 2036, Peter (Joshua Jackson), Olivia (Anna Torv) and Walter (John Noble) experienced some sort of happily ever after when they saved our universe and learned that Olivia was pregnant. However, this pregnancy fits perfectly with the grim future presented in the flash-forward, where Peter and Olivia's daughter tries to survive a world run by evil Observers, and Olivia is supposedly dead. What We Need To Know: According to Noble, Fringe's final go-round will take place almost exclusively in 2036, where the original Fringe team (plus Peter and Olivia's daughter, Etta) are wanted insurgents. Using the Observers as final-season villains is a huge plot shift, because we always thought September was our dearest friend. Does this mean the Observers were behind everything all along (even September)? Will we ever see the alternate universe (and our beloved Lincoln Lee) again? Are peacoats still in style in 2036? In case you couldn't tell, we're pretty excited for the Fringe panel. Please excuse the impending exclamation points. Sons of Anarchy: Season 4 of SoA ended on a major bang: Jax (Charlie Hunnam) finally learned that Clay (Ron Perlman) killed his father (and tried to kill Tara), but now he has to keep the old bastard alive. Agents in the CIA-backed Galindo cartel are using the Sons as their drug and weapon runners for their deal with the Irish Kings, who will only deal with Clay. Galindo will crush the now Jax-led Sons if their Irish investigation fails, so Jax will need to try his darndest to keep internal issues at bay. To make matters worse, Tig (Kim Coates) ran over the daughter of the most infamous drug kingpin in Oakland. What We Need To Know: We learned on Lost that Harold Perrineau will do anything for his kin. So when we heard the news that Perrineau had joined the cast as Damon Pope, the famous gangster/father of the woman run over by Tig, we were thrilled. ANY news on his character, and upcoming gang drama for the Sons, is necessary. Follow Shaunna on Twitter @HWShaunna More:
Comic-Con 2012: The Web's Most Anticipated Panels
The Future of Marvel Movies Looks Absolutely Insane
Comic-Con 2012: Official Lineup Highlights

Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.
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Below is the first trailer for Ben Affleck's forthcoming directorial project Argo. Although it might be more accurate to say, the first three trailers for Affleck's Argo, because when you watch the video, you get a thriller, a comedy, and a heavy political drama. Here's a quick rundown:
Beginning of Trailer - 1:00 Mark: Espionage Thriller
This is likely the sort of movie you expected when you heard about Affleck's plans to direct Argo. Affleck and his team of government agents collaborate on a high-intensity heist of sorts; a plan to free fellow Americans from Iran before they are executed. Stakes, tension and adrenaline are all high. Affleck's past project The Town comes to mind.
1:00 Mark - 1:30 Mark: Industry Comedy
The first twist — and easily the most surprising and enjoyable segment of the trailer. This is where Mendez's (Affleck) plan is introduced: pass the trapped Americans off as a filmmaking team (as opposed to a group of government agents) in order to trick the Iranian government into freeing them. In order to do this, the agency needs to immerse itself in Hollywood. The industry in-jokes commence, as does the general feel of a Coen Brothers comedy. And one done pretty well!
1:30 Mark - End of Trailer: Political Drama
Another table-turner, and a less welcome (though understandably necessary) one. The trailer's gravity spikes. Suddenly, this isn't a fun, quirky rescue mission. It's a political statement. It's a do-or-die, greater-than-the-sum-of-its-parts testament to the value of human life, and a lens pointed at the injustices in the world. The term "Oscar bait" comes to mind.
Check out the below trailer, and let us know which kind of movie you want Argo to be.
More:
Release Date Carousel Continues: Argo, Dictator, More Shift Schedules
Ben Affleck Lets Himself Go in New Argo Image
Bryan Cranston May Join Argo

UPDATED: Last weekend, The Avengers exploded into theaters, clobbering enough alien invaders to earn them over $200 million at the box office. Seeing as the movie has already made more than Thor and Captain America: The First Avenger in their entire box office run and is well on its way to challenging Iron Man 2's $312.4 million final total, it's safe to say the head honchos at Marvel and Disney are quietly prepping a regathering of their ultimate superhero team for an Avengers 2.
Kevin Feige, the mastermind behind Marvel's cinematic universe, is mum on the future of the Avengers, noting in interviews that Joss Whedon is optioned for an Avengers 2 but there are no concrete plans. The plan (for now) is to concentrate on solo hero outings, of which Marvel has many in motion. In an interview with Badass Digest, Feige mentions, "The people who do know say 'Oh, they only did this to lead into that!' Maybe they'll still do that with our next few movies, but it 'll be much less overt. I think they'll be more likely to go, 'What the f**k do they do now? How the f**k do they get to Avengers 2 now?' Which I actually like."
In 2013, we'll get two more comic book outings featuring The Avengers team members. First up is Iron Man 3, currently in production with Robert Downey Jr. returning as Tony Stark and his Kiss Kiss Bang Bang director Shane Black at the helm. The movie is set for a May 3, 2013 release, but as always, details and rumors are slowly starting to trickle. The movie is reportedly focusing on a plotline from the comics called "Extremis," which sees Downey Jr.'s Stark integrating his suit's technology into his body, making him literally superhuman. In interviews, Feige has compared the movie to the beginning of the original Iron Man where Stark is left powerless. Ben Kingsley and Guy Pearce (while It-girl Jessica Chastain has recently passed) are all on board for the new movie, but one Avenger won't be returning: Scarlett Johansson's Black Widow. Now comes word that The Town star Rebecca Hall is in talks for the female lead.
Marking Marvel's foray into the holiday film season, Thor 2 will strike down on November 15, 2013. Both Chris Hemsworth and Tom Hiddleston, who played Loki in both the first Thor and The Avengers, will return for the movie, as well as Natalie Portman as Jane Foster. Game of Thrones vet Alan Taylor is set to direct the movie, which somehow sees Thor venturing into new parts of the universe while expanding on the relationship between him and Jane from the first movie. Throw on top a brand new — and secret — villain, who will keep things interesting for Thor on top of Loki's usual mischief. Who could that someone be? An early rumor paints it as a double dose of evil: classic Thor villains The Enchantress and The Executioner. An evil Asgardian sorceress and her warrior whipping boy. Sounds about right. In an exclusive interview with Hemsworth, the actor even teased the possibility of the Thor universe's strangest character: Beta Ray Bill, half horse, half man. 100% amazing.
While it's way down the road, Chris Evans is also confirmed for his superheroic follow-up in Captain America 2, locked for April 4, 2014. In true Marvel fashion, details are being kept close to the chest, but the writers of the screenplay have revealed that the movie will be set primarily in present day (a wording that leaves it wide open for period setting flashbacks). Returning cast is up in the air based on demands, but actor Neal McDonough, who had a role as one of Cap's army buddies, Dum Dum Dugan, says he'll be back. The influence The Avengers and its success will have on the script could change everything, but Marvel is currently in pursuit of a director. Community directors Joe and Anthony Russo have been named in contenders, but no deal is set. Whoever takes the movie, we know it's definitely happening.
The rest of the crew has a foggy future. Those wowed by Mark Ruffalo's Hulk shouldn't get their hopes up; the actor has a six-picture deal that could see him returning to an Avengers sequel and as a costar in other Marvel productions, but Feige was skeptical pre-Avengers success. Speaking to CinemaBlend, the producer acknowledged that they were thrilled by Hulk in Avengers, they aren't rushing. If anything, demand (via toy sales, of course!) could bring about a third Hulk (although a new TV show is already in the works).
Rumors of a Black Widow and/or Haweye stand-alone film haven't gone any further than just that, with Marvel's upcoming and unknown slate continuing to focus on fresh franchises. Names that have been thrown around since Iron Man's debut are still in contention: a magic-driven Doctor Strange feature, Edgar Wright's Ant-Man and an epic Guardians of the Galaxy tentpole are all in the works. The conclusion of The Avengers certainly teases a sci-fi spin on the future installments — which would tie perfectly into Guardians of the Galaxy. Along with Captain America 2 in 2014, Marvel announced a second, unknown movie for June 27, 2014. Don't hold your breath for Avengers 2, but with only two years to go, Marvel will have to start making bold choices soon, setting into motion the next phase of their grand plan.
Don't hold your breath, Squirrel Girl.
Marvel movie questions? Find Matt Patches directly on Twitter @misterpatches!
More:
'Avengers' Rumors: The True, the False and the Bizarre
'Iron Man 3': Made in China
Chris Hemsworth Talks 'Avengers', 'Thor' Sequel, and More!
[Empire, Collider, Latino-Review, CinemaBlend, MTV, Screen Rant]

Theatrics slapstick and cheer are cinematic qualities you rarely find outside the realm of animation. Disney perfected it with their pantheon of cartoon classics mixing music humor spectacle and light-hearted drama that swept up children while still capturing the imaginations and hearts of their parents. But these days even reinterpretations of fairy tales get the gritty make-over leaving little room for silliness and unfiltered glee. Emerging through that dark cloud is Mirror Mirror a film that achieves every bit of imagination crafted by its two-dimensional predecessors and then some. Under the eye of master visualist Tarsem Singh (The Fall Immortals) Mirror Mirror's heightened realism imbues it with the power to pull off anything — and the movie never skimps on the anything.
Like its animated counterparts Mirror Mirror stays faithful to its source material but twists it just enough to feel unique. When Snow White (Lily Collins) was a little girl her father the King ventured into a nearby dark forest to do battle with an evil creature and was never seen or heard from again. The kingdom was inherited by The Queen (Julia Roberts) Snow's evil stepmother and the fair-skinned beauty lived locked up in the castle until her 18th birthday. Grown up and tired of her wicked parental substitute White sneaks out of the castle to the village for the first time. There she witnesses the economic horrors The Queen has imposed upon the people of her land all to fuel her expensive beautification. Along the way Snow also meets Prince Alcott (Armie Hammer) who is suffering from his own money troubles — mainly being robbed by a band of stilt-wearing dwarves. When the Queen catches wind of the secret excursion she casts Snow out of the castle to be murdered by her assistant Brighton (Nathan Lane).
Fairy tales take flack for rejecting the idea of women being capable but even with its flighty presentation and dedication to the old school Disney method Mirror Mirror empowers its Snow White in a genuine way thanks to Collins' snappy charming performance. After being set free by Brighton Snow crosses paths with the thieving dwarves and quickly takes a role on their pilfering team (which she helps turn in to a Robin Hooding business). Tarsem wisely mines a spectrum of personalities out of the seven dwarves instead of simply playing them for one note comedy. Sure there's plenty of slapstick and pun humor (purposefully and wonderfully corny) but each member of the septet stands out as a warm compassionate companion to Snow even in the fantasy world.
Mirror Mirror is richly designed and executed in true Tarsem-fashion with breathtaking costumes (everything from ball gowns to the dwarf expando-stilts to ridiculous pirate ship hats with working canons) whimsical sets and a pitch-perfect score by Disney-mainstay Alan Menken. The world is a storybook and even its monsters look like illustrations rather than photo-real creations. But what makes it all click is the actors. Collins holds her own against the legendary Julia Roberts who relishes in the fun she's having playing someone despicable. She delivers every word with playful bite and her rapport with Lane is off-the-wall fun. Armie Hammer riffs on his own Prince Charming physique as Alcott. The only real misgiving of the film is the undercooked relationship between him and Snow. We know they'll get together but the journey's half the fun and Mirror Mirror serves that portion undercooked.
Children will swoon for Mirror Mirror but there's plenty here for adults — dialogue peppered with sharp wisecracks and a visual style ripped from an elegant tapestry. The movie wears its heart on its sleeve and rarely do we get a picture where both the heart and the sleeve feel truly magical.
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In a post-Harry Potter Avatar and Lord of the Rings world the descriptors "sci-fi" and "fantasy" conjure up particular imagery and ideas. The Hunger Games abolishes those expectations rooting its alternate universe in a familiar reality filled with human characters tangible environments and terrifying consequences. Computer graphics are a rarity in writer/director Gary Ross' slow-burn thriller wisely setting aside effects and big action to focus on star Jennifer Lawrence's character's emotional struggle as she embarks on the unthinkable: a 24-person death match on display for the entire nation's viewing pleasure. The final product is a gut-wrenching mature young adult fiction adaptation diffused by occasional meandering but with enough unexpected choices to keep audiences on their toes.
Panem a reconfigured post-apocalyptic America is sectioned off into 12 unique districts and ruled under an iron thumb by the oppressive leaders of The Capitol. To keep the districts producing their specific resources and prevent them from rebelling The Capitol created The Hunger Games an annual competition pitting two 18-or-under "tributes" from each district in a battle to the death. During the ritual tribute "Reaping " teenage Katniss (Lawrence) watches as her 12-year-old sister Primrose is chosen for battle—and quickly jumps to her aid becoming the first District 12 citizen to volunteer for the games. Joined by Peeta (Josh Hutcherson) a meek baker's son and the second tribute Effie the resident designer and Haymitch a former Hunger Games winner-turned-alcoholic-turned-mentor Katniss rides off to The Capitol to train and compete in the 74th Annual Hunger Games.
The greatest triumph of The Hunger Games is Ross' rich realization of the book's many worlds: District 12 is painted as a reminiscent Southern mining town haunting and vibrant; The Capitol is a utopian metropolis obsessed with design and flair; and The Hunger Games battleground is a sprawling forest peppered with Truman Show-esque additions that remind you it's all being controlled by overseers. The small-scale production value adds to the character-first approach and even when the story segues to larger arenas like a tickertape parade in The Capitol's grand Avenue of Tributes hall it's all about Katniss.
For fans the script hits every beat a nearly note-for-note interpretation of author Suzanne Collins' original novel—but those unfamiliar shouldn't worry about missing anything. Ross knows his way around a sharp screenplay (he's the writer of Big Pleasantville and Seabiscuit) and he's comfortable dropping us right into the action. His characters are equally as colorful as Panem Harrelson sticking out as the former tribute enlivened by the chance to coach winners. He's funny he's discreet he's shaded—a quality all the cast members share. As a director Ross employs a distinct often-grating perspective. His shaky cam style emphasizes the reality of the story but in fight scenarios—and even simple establishing shots of District 12's goings-on—the details are lost in motion blur.
But the dread of the scenario is enough to make Hunger Games an engrossing blockbuster. The lead-up to the actual competition is an uncomfortable and biting satire of reality television sports and everything that commands an audience in modern society. Katniss' brooding friend Gale tells her before she departs "What if nobody watched?" speculating that carnage might end if people could turn away. Unfortunately they can't—forcing Katniss and Peeta to become "stars" of the Hunger Games. The duo are pushed to gussy themselves up put on a show and play up their romance for better ratings. Lawrence channels her reserved Academy Award-nominated Winter's Bone character to inhabit Katniss' frustration with the system. She's great at hunting but she doesn't want to kill. She's compassionate and considerate but has no interest in bowing down to the system. She's a leader but she knows full well she's playing The Capitol's game. Even with 23 other contestants vying for the top spot—like American Idol with machetes complete with Ryan Seacrest stand-in Caesar Flickerman (the dazzling Stanley Tucci)—Katniss' greatest hurdle is internal. A brave move for a movie aimed at a young audience.
By the time the actual Games roll around (the movie clocks in at two and a half hours) there's a need to amp up the pace that never comes and The Hunger Games loses footing. Katniss' goal is to avoid the action hiding in trees and caves waiting patiently for the other tributes to off themselves—but the tactic isn't all that thrilling for those watching. Luckily Lawrence Hutcherson and the ensemble of young actors still deliver when they cross paths and particular beats pack all the punch an all-out deathwatch should. PG-13 be damned the film doesn't skimp on the bloodshed even when it comes to killing off children. The Hunger Games bites off a lot for the first film of a franchise and does so bravely and boldly. It may not make it to the end alive but it doesn't go down without a fight.
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In This Means War – a stylish action/rom-com hybrid from director McG – Tom Hardy (The Dark Knight Rises) and Chris Pine (Star Trek) star as CIA operatives whose close friendship is strained by the fires of romantic rivalry. Best pals FDR (Pine) and Tuck (Hardy) are equally accomplished at the spy game but their fortunes diverge dramatically in the dating realm: FDR (so nicknamed for his obvious resemblance to our 32nd president) is a smooth-talking player with an endless string of conquests while Tuck is a straight-laced introvert whose love life has stalled since his divorce. Enter Lauren (Reese Witherspoon) a pretty plucky consumer-products evaluator who piques both their interests in separate unrelated encounters. Tuck meets her via an online-dating site FDR at a video-rental store. (That Lauren is tech-savvy enough to date online but still rents movies in video stores is either a testament to her fascinating mix of contradictions or more likely an example of lazy screenwriting.)
When Tuck and FDR realize they’re pursuing the same girl it sparks their respective competitive natures and they decide to make a friendly game of it. But what begins as a good-natured rivalry swiftly devolves into romantic bloodsport with both men using the vast array of espionage tools at their disposal – from digital surveillance to poison darts – to gain an edge in the battle for Lauren’s affections. If her constitutional rights happen to be violated repeatedly in the process then so be it.
Lauren for her part remains oblivious to the clandestine machinations of her dueling suitors and happily basks in the sudden attention from two gorgeous men. Herein we find the Reese Witherspoon Dilemma: While certainly desirable Lauren is far from the irresistible Helen of Troy type that would inspire the likes of Tuck and FDR to risk their friendship their careers and potential incarceration for. At several points in This Means War I found myself wondering if there were no other peppy blondes in Los Angeles (where the film is primarily set) for these men to pursue. Then again this is a film that wishes us to believe that Tom Hardy would have trouble finding a date so perhaps plausibility is not its strong point.
When Lauren needs advice she looks to her boozy foul-mouthed best friend Trish (Chelsea Handler). Essentially an extension of Handler’s talk-show persona – an acquired taste if there ever was one – Trish’s dialogue consists almost exclusively of filthy one-liners delivered in rapid-fire succession. Handler does have some choice lines – indeed they’re practically the centerpiece of This Means War’s ad campaign – but the film derives the bulk of its humor from the outrageous lengths Tuck and FDR go to sabotage each others’ efforts a raucous game of spy-versus-spy that carries the film long after Handler’s shtick has grown stale.
Business occasionally intrudes upon matters in the guise of Heinrich (Til Schweiger) a Teutonic arms dealer bent on revenge for the death of his brother. The subplot is largely an afterthought existing primarily as a means to provide third-act fireworks – and to allow McGenius an outlet for his ADD-inspired aesthetic proclivities. The film’s action scenes are edited in such a manic quick-cut fashion that they become almost laughably incoherent. In fairness to McG he does stage a rather marvelous sequence in the middle of the film in which Tuck and FDR surreptitiously skulk about Lauren's apartment unaware of each other's presence carefully avoiding detection by Lauren who grooves absentmindedly to Montel Jordan's "This Is How We Do It." The whole scene unfolds in one continuous take – or is at least craftily constructed to appear as such – captured by one very agile steadicam operator.
Whatever his flaws as a director McG is at least smart enough to know how much a witty script and appealing leads can compensate for a film’s structural and logical deficiencies. He proved as much with Charlie’s Angels a film that enjoys a permanent spot on many a critic’s Guilty Pleasures list and does so again with This Means War. The film coasts on the chemistry of its three co-stars and only runs into trouble when the time comes to resolve its romantic competition which by the end has driven its male protagonists to engage in all manner of underhanded and duplicitous activities. This Means War being a commercial film – and likely an expensive one at that – Witherspoon's heroine is mandated to make a choice and McG all but sidesteps the whole thorny matter of Tuck and FDR’s unwavering dishonesty not to mention their craven disregard for her privacy. (They regularly eavesdrop on her activities.) For all their obvious charms the truth is that neither deserves Lauren – or anything other than a lengthy jail sentence for that matter.
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Enigmatic and deliberate Tinker Tailor Soldier Spy makes no reservations while unraveling its heady spy story for better or worse. The film based on the bestselling novel by John Le Carre is purposefully perplexing effectively mirroring the central character George Smiley's (Gary Oldman) own mind-bending investigation of the British MI6's mole problem. But the slow burn pacing clinical shooting style and air of intrigue only go so far—Tinker Tailor Soldier Spy sports an incredible cast that can't dramatically translate the movie's impenetrable narrative. Almost from the get go the movie collapses under its own weight.
After a botched mission in Hungary that saw his colleague Jim (Mark Strong) gunned down in the streets Smiley and his boss Control (John Hurt) are released from the "Circus" (codename for England's Secret Intelligence Service). But soon after Smiley is brought back on board as an impartial observer tasked to uncover the possible infiltration of the organization. The former agent already dealing with the crippling of his own marriage attempts to sift through the history and current goings on of the Circus narrowing his hunt down to four colleagues: Percy aka "Tinker" (Toby Jones) Bill aka "Tailor" (Colin Firth) Roy aka "Soldier" (Ciaran Hinds) and Toy aka "Poor Man" (David Dencik). Working with Peter (Benedict Cumberbatch) a conflicted younger member of the service and Ricki (Tom Hardy) a rogue agent who has information of his own Smiley slowly uncovers the muddled truth—occasionally breaking in to his own work place and crossing his own friends to do so.
Describing Tinker Tailor Soldier Spy as dense doesn't seem complicated enough. The first hour of the monster mystery moves at a sloth's pace trickling out information like the tedious drips of a leaky faucet. The talent on display is undeniable but the characters Smiley included are so cold that a connection can never be made. TTSS sporadically jumps around from past to present timelines without any indication: a tactic that proves especially confusing when scenes play out in reoccurring locations. It's not until halfway through that the movie decides to kick into high gear Smiley's search for a culprit finally becoming clear enough to thrill. A film that takes its time is one thing but Tinker Tailor Soldier Spy does so without any edge or hook.
What the movie lacks in coherency it makes up for in style and thespian gravitas. Director Tomas Alfredson has assembled some of the finest British performers working today and they turn the script's inaccessible spy jargon into poetry. Firth stands out as the group's suave slimeball a departure from his usual nice guy roles. Hardy assures us he's the next big thing once again as the agency's resident moppet a lover who breaks down after a romantic fling uncovers horrifying truth. Oldman is given the most difficult task of the bunch turning the reserved contemplative Smiley into a real human. He half succeeds—his observational slant in the beginning feels like an extension of the movie's bigger problems but once gets going in the second half of the film he's quite a bit of fun.
Alfredson constructs Tinker Tailor Soldier Spy like a cinematic architect each frame dripping with perfectly kitschy '70s production design and camera angles that make the spine tingle. He creates paranoia through framing similar to the Coppola's terrifying The Conversation but unlike that film TTSS doesn't have the characters or story to match. The movie strives to withhold information and succeeds—too much so. Tinker Tailor Soldier Spy wants us to solve a mystery with George Smiley but it never clues us in to exactly why we should want to.